A slender tale of surviving without men that haphazardly stitches together the fabric of some women’s lives.
From Dallas (The Persian Pickle Club, 1995, etc.), a transparently homespun tale of pioneering women facing tough challenges when their men go off to fight for the Union.
The story, which awkwardly mixes period settings with contemporary politics, is told in the form of letters from Alice Bullock to married sister Lizzie in Illinois. Alice, a recent bride now living on a small farm in Iowa, begins the correspondence as husband Charlie is about to go to fight Johnny Reb. She is also a quilter who delights in piecing fabric together and making squares: each chapter is framed with a commentary on quilting, which adds to the folksiness, but, since quilts by now have become feminist icons, they also add a discordant contemporary note. Alice, who has just fallen pregnant, is left to help taciturn and critical Mother Bullock run the farm. Alice soon miscarries but is somewhat cheered by getting together with neighboring women to make quilts for the soldiers. Life gets tougher, though, as the war continues: Charlie is taken prisoner, money is tight, and Alice is pursued by a malevolent Southern sympathizer, Samuel Smead, who tries to rape her. But Mother Bullock warms up to Alice and defends her when she’s accused of murdering the unpleasant Smead, whose decaying body is found near their farmhouse. Alice also describes her relations with the local women (whose friendships are not always dependable); Mother Bullock’s terminal breast cancer; and the difficulty of farming without a man’s help. Her advice to Lizzie, though, who has problems with her husband, and her observations on sex and birth control, often sound more like the stuff of the 21st century, as opposed to the 19th. The war eventually ends, as do the letters, and Alice, weary but proud, is ready for a new future and new quilting experiences.
A slender tale of surviving without men that haphazardly stitches together the fabric of some women’s lives.Pub Date: Oct. 1, 2000
ISBN: 0-312-20359-4
Page Count: 256
Publisher: St. Martin's
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Aug. 1, 2000
The phrase “tour de force” could have been invented for this audacious novel.
Four men who meet as college roommates move to New York and spend the next three decades gaining renown in their professions—as an architect, painter, actor and lawyer—and struggling with demons in their intertwined personal lives.
Yanagihara (The People in the Trees, 2013) takes the still-bold leap of writing about characters who don’t share her background; in addition to being male, JB is African-American, Malcolm has a black father and white mother, Willem is white, and “Jude’s race was undetermined”—deserted at birth, he was raised in a monastery and had an unspeakably traumatic childhood that’s revealed slowly over the course of the book. Two of them are gay, one straight and one bisexual. There isn’t a single significant female character, and for a long novel, there isn’t much plot. There aren’t even many markers of what’s happening in the outside world; Jude moves to a loft in SoHo as a young man, but we don’t see the neighborhood change from gritty artists’ enclave to glitzy tourist destination. What we get instead is an intensely interior look at the friends’ psyches and relationships, and it’s utterly enthralling. The four men think about work and creativity and success and failure; they cook for each other, compete with each other and jostle for each other’s affection. JB bases his entire artistic career on painting portraits of his friends, while Malcolm takes care of them by designing their apartments and houses. When Jude, as an adult, is adopted by his favorite Harvard law professor, his friends join him for Thanksgiving in Cambridge every year. And when Willem becomes a movie star, they all bask in his glow. Eventually, the tone darkens and the story narrows to focus on Jude as the pain of his past cuts deep into his carefully constructed life.
The phrase “tour de force” could have been invented for this audacious novel.Pub Date: March 10, 2015
ISBN: 978-0-385-53925-8
Page Count: 720
Publisher: Doubleday
Review Posted Online: Dec. 21, 2014
Kirkus Reviews Issue: Jan. 1, 2015
BOOK REVIEW
BOOK REVIEW
PROFILES
PERSPECTIVES
A strict report, worthy of sympathy.
A violent surfacing of adolescence (which has little in common with Tarkington's earlier, broadly comic, Seventeen) has a compulsive impact.
"Nobody big except me" is the dream world of Holden Caulfield and his first person story is down to the basic, drab English of the pre-collegiate. For Holden is now being bounced from fancy prep, and, after a vicious evening with hall- and roommates, heads for New York to try to keep his latest failure from his parents. He tries to have a wild evening (all he does is pay the check), is terrorized by the hotel elevator man and his on-call whore, has a date with a girl he likes—and hates, sees his 10 year old sister, Phoebe. He also visits a sympathetic English teacher after trying on a drunken session, and when he keeps his date with Phoebe, who turns up with her suitcase to join him on his flight, he heads home to a hospital siege. This is tender and true, and impossible, in its picture of the old hells of young boys, the lonesomeness and tentative attempts to be mature and secure, the awful block between youth and being grown-up, the fright and sickness that humans and their behavior cause the challenging, the dramatization of the big bang. It is a sorry little worm's view of the off-beat of adult pressure, of contemporary strictures and conformity, of sentiment….
A strict report, worthy of sympathy.Pub Date: June 15, 1951
ISBN: 0316769177
Page Count: -
Publisher: Little, Brown
Review Posted Online: Nov. 2, 2011
Kirkus Reviews Issue: June 15, 1951
BOOK REVIEW
SEEN & HEARD
SEEN & HEARD
APPRECIATIONS
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